Each May, the French Riviera becomes the epicenter of global cinema during the Cannes Film Festival—one of the most prestigious and selective film festivals in the world. Founded in 1946, Cannes is where films go not just to premiere, but to make history. Winning here—or even being invited—is a stamp of global artistic credibility. But despite its glamour, Cannes has long struggled with representation, particularly when it comes to Black talent on screen and on the red carpet.
In 2025, two Black-led films have made waves: My Father’s Shadow, directed by Akinola Davies Jr., and Highest 2 Lowest, Spike Lee’s reimagining of Akira Kurosawa’s High and Low. The former is a powerful Nigerian drama about two brothers reconnecting with their father during a turbulent 1993 Lagos election. It’s the first-ever Nigerian film accepted into Cannes’ official selection—a massive milestone for Nollywood. It appears in the “Un Certain Regard” section, which focuses on bold, emerging voices and innovative storytelling styles [source: AP News].
Spike Lee’s Highest 2 Lowest stars Denzel Washington as a troubled music mogul, alongside A$AP Rocky and Ice Spice. Though screened “out of competition”—meaning it’s not eligible for the main Palme d’Or prize—it still received a Cannes slot, reflecting both reverence and restraint. The film’s themes of race, class, and justice echo loudly in the context of modern America [source: Wikipedia].
Denzel Washington, already a Cannes legend, was surprised with an honorary Palme d'Or for his lifetime contribution to cinema. But even in this moment of recognition, the contrast was stark: media coverage noted how Washington was largely ignored by French photographers, highlighting an ongoing discomfort with how Black excellence is received in elite spaces [source: SF Chronicle].
This wasn’t an isolated incident. Kelly Rowland went viral after a tense interaction with a red carpet usher, and Dominican actress Massiel Taveras made headlines after an usher appeared to physically block her grand entrance and cape reveal. These moments—recorded, shared, and dissected—underscore a larger truth: even at the pinnacle of cinematic prestige, minority stars still face disproportionate scrutiny and are often treated with less reverence than their white counterparts [source: Essence].
In contrast, Black excellence is showing up in force this year:
Halle Berry sits on the festival’s official jury, helping to determine the year’s top awards.
Filmmaker Mati Diop (Senegal/France) returns to the Croisette with her short film, reinforcing Cannes’ slow but real embrace of African and diasporic perspectives.
Still, for Black filmmakers and stars, Cannes remains a double-edged sword: a platform of unmatched prestige, but one where cultural and racial bias often lurk just beyond the spotlight.
As My Father’s Shadow and Highest 2 Lowest make their mark at Cannes, they also represent a broader moment—where Black filmmakers and stars are not just present but celebrated on one of cinema’s most iconic stages.